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ArtWatch at Thirty, Part II: The Artful Promotion of the World’s Worst Restorations

15 APRIL 2023. MICHAEL DALEY WRITES:

In Part I we set the 1980-1994 cleaning of Michelangelo’s Sistine Chapel frescoes in the era’s ambitiously experimental and accident-prone restorations. Here, we examine the art-historically untenable scholarship that arose when Michelangelo’s debilitated frescoes were endorsed as if constituting revelations that merited a rewritten history of art. Three decades on, identifying and examining the polished art-political stratagems that draw so many scholars and art critics into supporting egregiously destructive restorations remains a matter of professional urgency.

Above, Fig. 1, Top: National Geographic’s iconic photo-record of the Sistine Chapel ceiling which captured the last moments of the most acclaimed late stage of Michelangelo’s painting, including his The Crucifixion of Haman, the Prophet Jonah, and the Libyan Sibyl. Above, the post-cleaning, LED-lit chapel. When unveiled in 1512, the then brilliantly lit and shaded figures set in deep architectural spaces were eulogised for having made surfaces which physically advanced towards the viewer recede optically through Michelangelo’s powers of design and unprecedented deployment of lights and shades. At the time, no one spoke of Michelangelo’s colour – “brilliant” or otherwise.

TWIN AND CROSS-LINKED ASSAULTS ON A CRITIC

On 8 October 1987, halfway through the cleaning of the Sistine Chapel Ceiling, the restoration’s leading scholarly critic, Professor James Beck, Chairman of Columbia University’s Art History and Archaeology Department, was branded the “most culpable of the critics” by Sir John Pope-Hennessy in the New York Review of Books (“Storm Over the Sistine Ceiling”). Two months later, that attack was followed by another in the December Apollo magazine by Kathleen Weil-Garris Brandt (“Twenty-five Questions about Michelangelo’s Sistine Ceiling”). Like Pope-Hennessy, Brandt was a professor of Renaissance art at New York University’s post-graduate art history school, The Institute of Fine Arts (which incorporates a Samuel H. Kress Program-sponsored conservation department), and she was considered a long-standing friend by him.

Brandt characterised the restoration’s critics as “a tiny, heterogenous and vociferous cadre”. She likened their arguments to “the wild cries of some ferocious mutant of Chicken Little” and added “Many believe that the critics, like that benighted bird, were misunderstanding insufficient evidence, to draw mistaken conclusions to the alarm and detriment of the neighbours.” She conceded the issue “is a serious one” but only the better to sting: “Are the critics merely opportunists, bodysurfing in a wave of publicity they would never otherwise have enjoyed?” In his 2016 memoir, Michelangelo and I, Gianluigi Colalucci, the restorer/co-director of the Sistine Chapel restorations, described Brandt as “sweet and gentle in appearance but with a character of steel” who, having “obtained her own office in the museum complex”, had “put just about everybody under pressure with her inflexible activity”.

“THINGS ARE NOT AS YOU THINK”

There were degrees of hypocrisy in both attacks. Pope-Hennessy’s charge of professional culpability had followed his invitation to Beck to serve on a Metropolitan Museum Advisory Committee. As Colalucci would later disclose, Brandt’s denigration was not made as the self-effacing and disinterested scholar she had implied in Apollo“Like many Renaissance scholars, I have held a kind of informal watching brief for the cleaning operation since its inception in 1981 [sic] and I talk on the subject with groups and individuals of all kinds.” Formally speaking, Brandt had two dogs in this fight. First, she had obtained her Vatican office as the official spokesman on “Scholarly and General information” for Arts and Communications Counsellors, a division of the New York Public Relations firm Ruder and Finn Inc. which had been retained by the Vatican to handle the restoration crisis. Second, she was a member of a shadowy, secretive scientific advisory committee the Vatican had set up, ostensibly, to monitor the controversial restoration. On learning of that committee, Colalucci threatened to resign but was dissuaded by his restoration co-director, Fabrizio Mancinelli, who urged him to calm down because: “You’ll see that things are not as you think…” In due course, Colalucci recalled, “we were given to understand that the findings were positive”.

As will be shown in Part III, the ploy of an institutionally self-appointed, supposedly invigilating but intended exonerating body, had been honed at the National Gallery in 1947 and 1967. Given the importance of the greatest art, whenever major restorations are started, they must, of political necessity, be defended unequivocally for the duration and at length thereafter, for fear of triggering institutional melt-downs. When a restoration of sacred art in a sacred place is funded in advance by a foreign corporation in a commercial exchange for film and photography rights, any admission of error becomes doubly inconceivable. Little surprise therefore that, as Colalucci disclosed, the Vatican’s own scientific advisory committee remained in place as a supportive “working group” throughout the entire restoration of Michelangelo’s Sistine Chapel frescoes. Headed by André Chastel, this group’s members, in addition to Brandt, were:

“Carlo Bertelli of Lausanne University, initiator of the restoration of Leonardo’s Last Supper executed by Pinin Brambilla [See: The Perpetual Restoration of Leonardo’s Last Supper, Part I: The Law of Diminishing Returns]; Pierluigi De Vecchi, an expert on Michelangelo; Sydney J. Freedburg from Washington; Giovanni Urban[i] former director ICR [the Istituto Centrale di Restauro]; Luitpold Frommell and Matthias Winner, directors of the Bibliotecca Hertziana in Rome; Umberto Baldini, director of the ICR [and head of the Brancacci Chapel restoration]; Michael Hirst, an expert on Michelangelo’s drawings; John Shearman, an expert on Raphael and the Sistine Chapel…The restorers were Alfio Del Serra from Florence…and Paul Schwartzbaum from New York, head of the ICCROM school and projects in Rome. Norbert Baer from New York University was the only chemist.”

THE SAMUEL H. KRESS FOUNDATION INTERVENTION

Colalucci aired a secondary grievance concerning the advisory committee in 2016: “By express desire of Chastel and the other members, we were not allowed to inform the press of the work of this group of experts, even though it would have been of great benefit to us because” [the quasi-invigilators] “wished to keep a low profile and avoid the attention of the already overly excited public opinion”. However, “Shortly afterwards, Marilyn Perry, the pleasant and dynamic president of the Kress Foundation, set up another working group, this time consisting almost exclusively of restorers on her own initiative.”

“The members were Mario Modestini, the foremost restorer in America; John Brealey, director of the restoration department of the Metropolitan Museum of Art in New York; the young Dianne Dwyer, then assistant to John Brealey [see Fig. 11 below]; Andrea Rothe, director of the restoration department of the J. P. Getty Museum in Malibu; David Bull, director of the restoration department of the National Gallery in Washington [see Figs. 2 and 3 below]; and Leonetto Tintori, a highly skilled restorer from Florence [see Fig. 3 below].

“The group’s task was to monitor our work, give advice and put forward criticisms. The [single] meeting was very fruitful and ended positively with a report drawn up [by] the members of the group aimed in particular at public opinion in the United States.”

The resulting open letter from this committee to the American press executed its expressly intended effect to perfection. In April 1987, Time’s art critic, Robert Hughes, claimed:

“…most experts on Renaissance art, and on Michelangelo in particular, strongly endorse it and reject out of hand the anti’s allegation of haste or insufficient study…Last week a further vote of confidence came from the Samuel H. Kress Foundation, a long-established non-profit organisation concerned with the care and preservation of Italian art. Six of the world’s leading conservators… reported in an open letter that the ‘new freshness of the colours and the clarity of the forms on the Sistine Ceiling, totally in keeping with 16th century Italian painting, affirm the full majesty and splendor of Michelangelo’s creation’”

John Russell reported in the New York Times:

“An international Group of leading conservators of Italian paintings has given its unanimous and strongly enthusiastic approval to the current restoration of Michelangelo’s frescoes in the Sistine Chapel in Rome…Though not intended as a riposte to recent criticism of the restoration the report could be said to rebut the attacks that have been made upon it. Among those who have opposed the restoration are Prof. James Beck of Columbia, Alexander Eliot, formerly of Time Inc. and a group of 14 American artists who asked the Pope to halt the work…”

Above, Fig. 2: Top, the David Bull-restored Bellini/Titian Feast of the Gods, (before cleaning, left; after cleaning, right); below, a detail before cleaning, left, and immediately after cleaning, right. If Bull had simply removed a discoloured film of varnish, the previously discernible tonal values would have emerged enhanced – and not, as seen, diminished, compressed, and with a flattening of previously tangible forms. Such losses were Bull’s forte: when he restored Turner’s Rockets and Blue Lights (Fig. 3, below), one of the picture’s two distressed steamboats disappeared and its plume of once-black smoke was painted into a waterspout. (When that restorations-wrecked picture was sent to the UK on a tour, credulous British art critics took their lead from a Tate Gallery press release and gushingly proclaimed it “One of the stars of the show”.)

Above, Fig. 3: Left, Turner’s painting of two steamboats in distress, “Rockets and Blue Lights…” as seen in: 1896 (top); 1934 after restoration by William Suhr (centre); 2003 after restoration by David Bull (above). Right, Massacio’s Holy Trinity in the Santa Maria Novella, Florence, after restoration by Leonetto Tintori.

SUCKERED ART CRITICS

Where the Kress Committee’s open letter achieved immediate propagandistic effect, it took time for the claimed unanimity of its expert endorsement to dissolve. In a 28 April 2012 post we made the following (uncontested) disclosures:

“ArtWatch has been haunted for two decades by a nearly-but-not-made restoration disclosure. In the 1993 Beck/Daley account of the Nippon TV sponsored Sistine Chapel restoration (Art Restoration: The Culture, the Business and the Scandal), we reported that in the late 1980s Leonetto Tintori, the restorer of Masaccio’s Holy Trinity in the Santa Maria Novella, Florence [Fig. 3, above] and a member of the international committee that investigated the controversial cleaning, had urged the Sistine team privately to preserve what he termed ‘Michelangelo’s auxiliary techniques’ which in his view included oil painting as well as glue-based secco. What we had not been able to say was that Tintori (who died in 2000, aged 92) had prepared a dissenting minority report expressly opposing the radical and experimental cleaning method.

“Shortly before the press conference called to announce the committee’s findings, Tintori was persuaded by a (now-deceased) member [Fabrizio Mancinelli] of the Vatican not to go public with his views. He was assured that his judgement had been accepted and that what remained on the Sistine Chapel ceiling of Michelangelo’s finishing auxiliary secco painting would be protected during the cleaning. With a catastrophically embarrassing professional schism averted, the restoration continued and the rest of what Tintori judged to be Michelangelo’s own auxiliary and finishing stages of painting was eliminated. Without knowledge of Tintori’s highly expert dissenting professional testimony, the public was assured that despite intense and widespread opposition the cleaning had received unanimous expert endorsement. Critics of the restoration were left prey to disparagement and even vilification.”

Our 1993/2012 claims on the dissent within the international committee had been double-sourced by James Beck and the Florence-based art historian Richard Fremantle in conversations with Tintori (a member of ArtWatch). They became triple-sourced and document-backed on 8 June 2011 when the Titian expert and former director of the Warburg Institute, Professor Charles Hope, gave the following account when delivering the third James Beck Memorial Lecture (“The National Gallery Cleaning Controversy”) at the Society of Antiquaries, London:

“It would be unrealistic to suppose that those directly involved in the restoration would willingly concede that large areas of Michelangelo’s own work were removed. But even those who believe that the restorers did a good job ought to recognise that much of the controversy could have been avoided if a more careful assessment of the art-historical evidence had been carried out before the restoration began. But no serious investigation was made of the records of earlier restorations, the issues raised by Wilson were not addressed, and Vasari’s testimony was accepted as conclusive evidence that Michelangelo only used buon fresco, without any recognition of its problematic character (which was well understood in the nineteenth century) and without any discussion of the evidence of Armenini. In this context, one might also mention an article in the 1995 Revue de l’art by Leonetto Tintori, the most experienced restorer of Tuscan frescoes of his generation, who died in 2000 at the age of 92. Tintori was consulted about the desirability of restoring the ceiling, and I understand that he opposed it. The most important point in his article is that the technique supposedly used by Michelangelo on the ceiling, buon fresco alone, with only very small additions in secco, was entirely inconsistent with the practice of other painters in Tuscany, from Buffalmacco to Lippi and Sarto; and the same point was made by Eve Borsook [art historian and author of the 1960 and 1980 The Mural Painters of Italy] in the same journal. Tintori ended his article by deploring the modern practice of ever deeper cleaning, concluding, ‘This new orientation aimed at the total restitution of the original paint has had the paradoxical effect that the appearance of pure authenticity has become increasingly rare.’ Given his membership of the [Kress-assembled] committee that recommended, apparently against his own advice, the restoration of the ceiling, he could hardly have attacked the results explicitly, but it cannot be by chance that he chose to say what he did, a year after the publication of the [Vatican’s] final restoration report.

WHO HAD KNOWN OF TINTORI’S DISSENT?

In his 2016 memoir, Colalucci made no mention of Tintori’s opposition or his 1995 Revue de l’art views on the destructiveness of the Sistine Chapel restorations – his sole reference to the opposing restorer came in his above-cited composition of the Kress committee. Presumably, all other members of the working group – Modestini; Brealey; Dwyer [-Modestini]; Rothe and Bull had known of his opposition, as had Mancinelli. Perhaps Marilyn Perry and Colalucci had not known, but, certainly, Robert Hughes, John Russell, and very many other journalists were duped. Brandt gave no hint of Tintori’s opposition in Apollo but she stopped fractionally short of claiming unanimity:

“Everyone agrees with David Bull, Head of Paintings Conservation at Washington’s National Gallery of Art, that ‘the work being done on the frescoes should be meticulously watched, examined and questioned… (Fresco conservators seem not to be disturbed by the cleaning.)”

POPE-HENNESSY’S ATTACK ON BECK

When dubbing Beck the most culpable scholar/critic, Pope-Hennessy detached himself from his professional obligations:

“If you are an art historian, it is essential to free yourself from the fetters of your profession. The Sistine Ceiling is no more the property of art historians than the Ninth Symphony is the property of musicologists.”

The analogy was perversely inapt: in the Sistine Chapel, two recently appointed young officials – an art historian/curator and a quasi-scientific restorer – were rewriting a score they had ignorantly/wilfully misread in defiance of their predecessors’ views and reports and they were demanding that musical history be re-written to sanctify their systematic adulterations.

Pope-Hennessy was not alone in standing on such treacherous ground – he was running with a pack. His denunciation of Beck was made in a review of the 1986 book The Sistine Chapel: The Art, the History, and the Restoration (- published in the UK as The Sistine Chapel: Michelangelo Rediscovered). The book carried accounts from the three principal Vatican agents of the restoration: Professor Carlo Pietrangeli (Director General of the Vatican Museums); Dr Fabrizio Mancinelli (Curator of the Vatican Museums’ Byzantine, Medieval and Modern collections); and Gianluigi Colalucci (the Vatican’s Chief Restorer) – the latter two being the restoration’s co-directors. Their views were implicitly endorsed by accompanying scholarly essays from André Chastel, Pierluigi de Vecchi, Michael Hirst, John O’Malley, and John Shearman. The book was co-published by the Nippon Television Network Corporation which had sponsored the 1980-1994 restoration for $3million in exchange for all film and photography rights throughout each of the restoration’s three stages (the upper wall lunettes; the ceiling; and the Last Judgement altar wall) and for three years afterwards on each part.

INDEFENSIBLE METHODS

Pope-Hennessy appreciated that the restoration breached fundamental protocols by being conducted piecemeal on a narrow, enclosed platform when under intense film-set lighting that denied the restorers any means of appraising the actions and artistic effects of their radical, oven cleaner-like gelled cocktail of soda, ammonia, and detergents. (See Figs. 1 and 4.)

The cleaning paste, AB57, had been formulated to strip all historic organic materials from the plaster surface in two three-minute applications set twenty-four hours apart and removed each time with copious amounts of sponged water. The solvents-contaminated rinse water saturated the fresco plaster so completely that underdrawings on a lower plaster layer became visible. Empty assurances were given that a new air-conditioning system would protect the newly exposed bare plaster surfaces from the Chapel’s notoriously high levels of dirt, humidity, and fluctuating temperatures. Reports later emerged of secret night-time removals of white powder accumulations on the ceiling frescoes. By 2013 the ceiling had been lit to brighter and more colourful effect with powerful LED lights, when the chief defence of the restorers had been their supposed recovery of originally brilliant colours. See “The Twilight of a God: Virtual Reality in the Vatican” where we asked:

“Given this recent history, might Prof. Brandt – or any of the restoration’s supporters at that time – ever have imagined that within a couple of decades the Vatican would conclude that the chromatically brilliant ‘New Michelangelo’ would require artificial lighting ten times more powerful than that installed at the time of the restoration?”

In 2016, Colalucci blamed the chapel’s initially too-powerful levels of artificial lighting for the cleaning controversy itself:

“None of us had realized that after cleaning, these frescoes needed minimal lighting in order to be seen correctly. We should have considered the fact that, having been painted to be seen solely in light from the windows or candles and torches, they would look wrong in very brights lights such as television crews use.”

Despite the claim that the restoration had recovered an original intense chromaticism in Michelangelo’s painting that required low levels of lighting, the apparently natural light entering through the chapel’s windows was subsequently turbo-charged:

“…in the end the entire lighting system was revolutionized and moved outside with quartz lamps behind the window panes in accordance with a project devised by the technical department for a combination of natural and artificial light. Today with the new [LED] technologies, the Vatican Museums have installed a new lighting system with good results.”

THE STILL-UNSOLVED ATMOSPHERIC POLLUTION PROBLEM

On 10 January 2013 we reported:

“It is now clear that having first engineered a needless artistic calamity, the Vatican authorities have additionally contrived a situation in which the already adulterated remains of Michelangelo’s Sistine Chapel frescoes are presently in grave physical peril. On January 2nd 2012 Art Daily carried an Agence France-Presse report on the panic that has beset the Vatican authorities over the present and worsening environmental threat to the Chapel’s frescoes:

“The Vatican Museums’ chief warned that dust and polluting agents brought into the Sistine Chapel by thousands of tourists every-day risk one day endangering its priceless artworks. Antonio Paolucci told the newspaper La Repubblica in comments published last Thursday that in order to preserve Michelangelo’s Last Judgment and the other treasures in the Sistine Chapel, new tools to control temperature and humidity must be studied and implemented. Between 15,000 and 20,000 people a day, or over 4 million a year, visit the chapel where popes get elected, to admire its frescoes, floor mosaics and paintings. ‘In this chapel people often invoke the Holy Spirit. But the people who fill this room every day aren’t pure spirits,’ Paolucci told the newspaper. ‘Such a crowd… emanates sweat, breath, carbon dioxide, all sorts of dust,’ he said. ‘This deadly combination is moved around by winds and ends up on the walls, meaning on the artwork.’ Paolucci said better tools were necessary to avoid ‘serious damage’ to the chapel… The Sistine Chapel, featuring works by Michelangelo, Botticelli and Perugino, underwent a massive restoration that ended in the late 1990s. The restoration was controversial because some critics said the refurbishing made the colours brighter than originally intended.”

POPE-HENNESSY’S MANIFEST AMBIVALENCE

Without addressing the invasive actions of AB57 – the use of which had been condemned by restorers, scientists, artists, and art historians – or the abnormal film lighting – Pope-Hennessy did acknowledge some of their artistically disruptive consequences:

“On the other hand, it must be recognised that the effect made by any section of the fresco is contingent on the cleaning not only of that section but of the areas contiguous to it. The figure of God the Father in the Creation of the World could be cleaned faultlessly, but it would appear less dominant if the equation between the figure and the fictive moulding around it were disturbed. This has occurred in the first half of the ceiling…where the upper strip of the [fictive architectural] framing is now too light. If this happened in the second half of the ceiling, there would be protests that the Genesis scenes had been diminished or spoiled. The present width of the scaffolding is the equivalent roughly of one bay of the ceiling, and it is extremely difficult when standing on it to judge the relationship of the part of the ceiling that is within touching distance to the cleaned part beyond. I have repeatedly wondered whether it would not be prudent in the second half of the ceiling to employ a platform of double width, even at the cost of denying a larger area of the fresco to current visitors.” (Emphases added.)

Above, Fig. 4: The Sistine Chapel ceiling showing the restorers and film-makers’ platform approaching the most brilliant, deep-space final stages of Michelangelo’s painting.

“TO RESTORE OR NOT TO RESTORE” – COLALUCCI’S BREACH OF PROTOCOLS

Had Pope-Hennessy’s suggestion been made and accepted (thereby tacitly acknowledging an unsound seven-year long procedure) it would have had no effect. Colalucci had stipulated the pre-set, no variations, two three-minute AB57 applications precisely to prevent his restorers from making individual appraisals for fear of undermining his desired aesthetic homogeneity. As he put it in 2016: “I wanted to have every square centimetre under my control and was reluctant to expose others to the risk of failure or controversy.” We can now be clear that this restoration truly was one man’s folly. On his unwarranted and unfounded insistence that Michelangelo had not painted on the fresco surface, the restoration was reduced to the brutally simplistic and non-artistic goal of executing the most technically expeditious removal of all historic materials from the plaster surface – which, in truth, was to say, primarily, the last stages of Michelangelo’s own work. For this reason, even if the restorers had been able to compare the already cleaned fresco sections with the one being cleaned, they had no authority to depart from Colalucci’s twin, three-minutes AB57 applications procedure. Later, in self-exculpation at a Kress-organised conference in New York, Colalucci claimed that the heat and the brilliant film-set lighting had “fatigued the eyes” and made aesthetic appraisals impossible – when the decision to clean with AB57 had been taken before the deal with the Japanese film-makers had been struck.
On his own admission, Colalucci had sanctioned a procedure that breached the most fundamental restoration protocol of all – and one that had recently been stated by Professors Paolo and Laura Mora, the inventors of AB57 – that, at all times, the restorer and not the cleaning agent itself must assume responsibility for all the resulting changes of appearance in the work of art. The absence of declared support for the Sistine restorations by the Moras themselves is conspicuous. My (Leonardist) colleague, Jacques Franck, recalls – and may still possess – a 1980s Italian newspaper report in which it was claimed that the Moras had resigned from a Vatican committee because they had judged AB57 (which had been developed to remove traffic pollution from Rome’s marble buildings) unsuitable for Michelangelo’s frescoes. Had they been invited to serve on the Kress-assembled committee, along with Tintori – and if not, why not? Or on the Vatican’s own committee? Our researches had found a single enigmatic comment on the subject. In the Summer 1987 Art News (“Michelangelo Rediscovered”), M. Kirby Talley, Jr. wrote: “The decision to restore the Sistine frescoes was not taken lightly. ‘To restore, or not to restore, that’s the question you have to ask yourself every time you are confronted with a problem.’ cautioned Professor Laura Mora, restorer at the Istituto Centrale del Restauro and a leading authority on fresco conservation.” Talley continued: “This question was posed by the Vatican authorities, and the pros and cons were scrupulously weighed before the final go ahead was given”. No doubt they were, but the fact remains that contrary to the Kress-driven propaganda coup that may have turned Pope-Hennessy, three – and arguably, the top three – leading fresco authorities had not been on the scales. Brandt brought no clarification on the matter in Apollo with her gnomic observation “Fresco conservators seem not to be disturbed by the cleaning”.

SACRIFICING MICHELANGELO’S “COMMUNICATIVE POWER”

Above, Fig. 5, top: two engraved copies of the Libyan Sibyl, both of which showed the Sibyl’s left arm relieved by a tonally dark background; above, a detail of Michelangelo’s Libyan Sibyl before (left) and after (right) Colalucci’s cleaning and showing the profound and systematic losses of Michelangelo’s secco-extended tonal range of shading and aerial placements. As well as making broad-brush tonal adjustments, Michelangelo had – as Charles Heath Wilson had testified in the late nineteenth century (when very closely examining the ceiling from a special scaffolding) – also drawn secco revisions to contours and to many details such as hair and eyes. In the above photo-comparison, it can be seen that many lines which had clarified and reinforced details like the Sibyl’s thumb, lower jaw, the hair band, and the edges of the giant book, had all perished in Colalucci’s soda/ammonia/detergent double-washing. Further, Wilson had supplied an incontrovertible material/scientific proof that the secco painting was Michelangelo’s own: the secco painting had cracked as the plaster had cracked. The ceiling had begun cracking in Michelangelo’s own lifetime. Had the painting been applied centuries later by subsequent restorers, as the Vatican claimed on no evidence, it would have run into the cracks. It had not run into the cracks – but the world heard nothing of this: Wilson’s crucial, utterly subverting testimony on the secco painting had been air-brushed out by all players at the Vatican and, wittingly or unwittingly, by all of their art historical supporter/apologists.

For his part, Pope-Hennessy harboured and instanced futher (well-founded) aesthetic and historical anxieties:

“…you come in, as you have always done, through the little door under the Last Judgement and look up, speechless at the rebellious Jonah, the melancholy Jeremiah, and the Libyan Sibyl heroically supporting her colossal book [Fig. 5, above]. But about halfway down the chapel is a scaffolding resting on rails along the walls, covered with mustard-coloured fabric on which appear the shadows of ordinary mortals busily at work. [Fig. 4, above.] Beyond it you look towards the Zechariah, the Joel, and the Delphic Sibyl, suffused with light and seemingly the work of another, more lively, more decorative artist…Inevitably, judgement contains a strong subjective element, the more so as two kinds of verdict are involved, short-term judgement dominated by pleasure at the unwonted freshness of paint surface and long-term judgement in which one asks oneself whether the image has the same communicative power that it possessed before… Each time I go back to the chapel and sit, as I have so often sat, before the pitted surface of the Jeremiah, I feel concern that future generations may be denied an experience that raised the minds and formed the standards of so many earlier visitors. This is the basis of the claim of Beck and many others that the cleaning should be suspended at this point.” (Emphases added.)

Against all of which, he baldly insisted: “If there were the least reason to believe that the late frescoes would be overcleaned, this would be a valid view. But there is no evidence of overcleaning in the restored section of the chapel and there is no reason to suppose that the later frescoes will be treated less judiciously.”

THE WILFULLY DISREGARDED HISTORICAL VISUAL RECORD

On Pope-Hennesy’s own – albeit limited – admissions, there was every reason not to take the Vatican restorers’ methods on trust, not the least of these being the fact that, as any visually alert scholar should have appreciated, the many copies of the Ceiling made from Michelangelo’s day to our own, had all testified to his secco overpainting:

Above, Fig. 6: Top, left, the ink and wash copy of Michelangelo’s Sistine Ceiling figure Jonah, made between 1524 and 1534 by Giulio Clovio; top, right, a c. 1800 etched copy of Michelangelo’s Jonah by the Irish painter James Barry, R. A.; above, left, a detail of Michelangelo’s Jonah before Colalucci’s cleaning and showing the then surviving secco remains of the Clovio-copied dramatic shadow cast from the Prophet’s left foot; above, right, Jonah’s left foot after Colalucci’s elimination of the secco-enhanced shadows.

Disregarding all such historical visual testimony, the Vatican insisted that what had been understood since the 1512 unveiling to be Michelangelo’s own shadows, were arbitrary accumulations of soot trapped in “glue-varnishes” applied centuries later by successive restorers with sponges tied to thirty-feet long poles – poles of which, we established, no record existed and which, had they existed, would have stopped thirty-feet short of the ceiling. The phantom poles were summoned by Vatican officials in the absence – which we also established – of Vatican records of ceiling-high restoration scaffolding.

THE BOOK THAT WOULD HAVE BLOCKED THE SISTINE CHAPEL RESTORATION:

Above, Fig. 7: Left, the compendious 1990 book of historic copies of Michelangelo’s Sistine Chapel frescoes; centre, the book’s reproduction of Giulio Clovio’s Jonah drawing; right, the book’s reproduction of 19th century engravings (after lost copies) of the two lunettes Michelangelo had painted on the Chapel’s altar wall and would later destroy when preparing that wall for his Last Judgement.

Had the above book been published before 1980 and due consideration been given to Wilson’s account, a cleaning of the ceiling would have been stopped dead by the testimony of the above two images. The Clovio drawing alone constituted a proof positive that Michelangelo’s instantly-acclaimed lights and shadows had not only been present on the Ceiling but were also present on Michelangelo’s upper wall lunette frescoes – just as Colalucci’s Vatican restorer predecessors had reported. It did so because the two lunettes part-shown in its lower corners, were the very ones that Michelangelo destroyed to paint his Last Judgement. Thus, the sharply pronounced shadow that had been cast along the ground by Jonah’s left foot had been painted before any restorer had been near the frescoes. It could not, therefore, have been a freakishly artistic by-product of soot trapped within successive “glue varnishes” applied by restorers. Moreover, the glimpses of the shadows cast by Michelangelo’s lunette figures in Clovio were in turn confirmed by the etched copies of the two destroyed lunettes on the altar wall. Even the Clovio-recorded nude boy supporting Jonah’s name tablet had originally cast his own shadow on the wall before Michelangelo painted his Last Judgement.

Above, Fig. 8: The name tablet for the Prophet Zacheriastop, before cleaning: above, after cleaning.

THE ELEPHANT ON THE CEILING

Michelangelo had not been the first artist to depict cast shadows. What stunned his contemporaries had been the thunderous force of spatial illusionism within which his figures had realised an unprecedentedly vivid sculptural presence-in-space. It was precisely in the wake of the illusionistic shading’s evisceration that Pope-Hennessy had (correctly) noted that where the name tablets had previously been “firmly integrated in the [real and fictive] architecture of the chapel…they [now] read like supertitles in an opera house”see Fig. 8, above. To repeat: that tragically late-published book had shown beyond any dispute that there had been no break in the visual record of Michelangelo’s shadows from his day to ours – and, therefore, that the Vatican’s restorers had destroyed the finishing stages of Michelangelo’s own painting throughout the ceiling. In retrospect – and after all the account/demonstrations we have published (see, for example, Cutting Michelangelo Down to Size) – it might increasingly seem that this visually self-evident truth was a truth too big and too inconvenient in its implications ever to be ceded by the Vatican and the compliantly supportive art historical establishment it had garnered.

UNDERSTANDING POPE-HENNESSY’S SCHOLARLY BLANK CHEQUE

As a former director of both the Victoria and Albert Museum and the British Museum; a professor of art history at New York University’s post-graduate Institute of Fine Arts; and the very recently retired Chairman of European Paintings at the Metropolitan Museum of Art, Pope-Hennessy’s essay had effortless clout despite his self-subverting acknowledgements of both disturbing artistic results and – even – a wide distrust of the restoration among professionally sound peers. He opted to berate the critics while lauding the restorers, not on what they had done (on some of which he was critical) but on what he expected them to do next. Perhaps he had been privy to Mancinelli’s assurance to Tintori? He had certainly registered concern over of a group of cleaned Prophets and Sibyls:

“Optically, seen from the altar end of the chapel, they look a little smaller and less weighty than they did before. In the heads, a gain in definition is accompanied by a loss of ambiguity.”

Given that the visual arts work on and through their optical reception, how could Pope-Hennessy discount his own art historically informed, optically received, reading of diminished volumes and weights in Michelangelo’s figures? Perhaps he, like the art critics Hughes and Russell, had been swayed (or cowed) by the sheer authority of the supposedly unanimous Kress Foundation report? In any event, he wrote:

“…a gulf opened between those who adhered to the old concept of the ceiling and those who embraced the ceiling as it seemed originally to have been. The dispute was taken up in the American press, in largely polemical terms. There were demonstrations; and vociferous protests were made by both academic and non-figurative artists. The Vatican authorities went so far as to explain publicly, in two days of conferences in New York, the restoration program and the data on which it was based. Not unnaturally American criticism was reported throughout Italy, and had a disturbing, though not demoralizing, effect on the restorers involved. Arrangements, however, were made for a number of restorers of acknowledged excellence (three of them specialists in fresco decoration) to visit Rome, and they one and all endorsed the wisdom of what was being done.” (Emphases added.)

LEARNING TO LOOK

Aside from this explicit professional deference to a Higher Technical Authority in matters of aesthetic appraisal, other possible explanations for Pope-Hennessy’s stance emerged in his 1991 memoir, Learning to Look. This most distinguished scholar had a visual Achilles Heel – of time spent in an art school, he recalled “I disliked this too, and to this day I cannot draw.” Moreover, he had developed aversions to fellow art historians – and even (like Colalucci) to subjective judgements:

“One of the things about art history that I found puzzling from the first was that clever art historians (there were stupid ones too, of course, but a lot of them were really clever) should reach diametrically opposite conclusions on the basis of a tiny nucleus of evidence. The reason, so far as one could judge, was that the subjective element in art history was disproportionately large. If this were so, it was not only works of art that needed to be looked at in the original but art historians too, since their results were a projection of their personalities. So for some years, I made meeting art historians a secondary avocation.”

From the first, Pope-Hennessy had indeed made it his business to meet as many art historians as possible. When he left Balliol College, Oxford, with a second-class degree in history and an alumnus’s legendary “tranquil consciousness of an effortless superiority” (- in his case, specifically: “in the form of a self-confidence that sometimes verged on arrogance and a clear understanding of the difference between success and a succès d’estime”) he sold some inherited coconut islands off Borneo as income to be devoted “to travelling and to the preparation of a book” – and all this when, like Max Beerbohm’s Young Arnold Bennet, already having “a life plan in my mind.” During the Second World War he “found himself” in the Intelligence Department of the Air Ministry and there, for the first time, “met ordinary people” whom he considered “congenial and interesting”. In later life he expressed a preference for works of art over people of any kind:

“Objects mean more to me than people. It is not that I am frigid or reclusive, but that object-based relationships are more constant than human ones (they never change their nature and they do not pall).”

THE CHURNING “RAW MATERIAL” OF SCHOLARSHIP – AND A NEW SPECTATOR SPORT?

However, and despite his avowed attraction to the constancy of objects, as a self-made art historian, Pope-Hennessy came to welcome their radical alteration by restorers:

“People sometimes complain that there is nothing new to be said about Italian painting. They mean by this there are now monographs on many minor painters and that the works of great artists have been discussed in a large number of books. But the truth is that the raw material of Italian painting is in a constant state of flux. When paintings change through cleaning, our view of the artist who produced them changes as well.”

Above, Fig. 9: Top, the National Galley’s Piero della Francesca The Nativity before its latest restoration (left), and afterwards (right); above, a comparative detail showing the recently repainted shepherds and wall, with (inset) their previous state.

Like many of their scholarly peers, newspaper art critics have come to welcome the easy copy-generating potential of restorers’ alterations. In December 2022, Waldemar Januszczak of the Sunday Times, extolled the National Gallery’s controversially reconstructed Piero della Francesca Nativity (Fig. 9, above) and claimed that museums themselves now welcome “the inevitable brouhaha that follows any big restoration” because it “provokes interest and gets people through the door.” However, the art historian Giorgio Bonsanti deplored the intervention in IL GIORNALE DELL’ARTE and fears that such “controversies are destined not to subside but to remain and grow in future years, because the problem exists, and will remain evident to the millions of visitors to the National Gallery”. Scarcely less alarming to the Gallery must have been the Guardian critic, Jonathan Jones’, (earlier) assault on the repainted Nativity.

Jones had been the newspaper art critic of choice who was embedded within the Gallery’s conservation department during the restoration of its version of the Leonardo Virgin of the Rocks. The Evening Standard art critic, Brian Sewell, a student of Anthony Blunt at the Courtauld Institute, and a long-time scourge of National Gallery restorations, had been similarly co-opted within the restoration of Holbein’s The Ambassadors (Fig. 10, below). When so embedded, Jones predicted (wrongly) that “ArtWatch will attack the restoration”. On the Nativity, Januszczak similarly predicted: “There will be those, of course, who will howl at the changes – there always are.” In this case, at least three have now done so on the record – in addition to Jones and Bonsanti, in the March/April 2023 issue of the Jackdaw, its editor, David Lee (“Abbronzatura Solaire”), complained that aside from imposing complexions on the shepherds that are “more appropriate to Love Island than Bethlehem”, the Gallery has confounded a manifestly un-finished painting with a damaged finished painting.

Having previously studied the Nativity’s historic and restoration dossiers, we would add that this panel painting has likely suffered more accumulated restoration blunders than any other in the collection – with the possible exception, perhaps, of Giovanni Bellini’s Madonna of the Meadow. Both of those two pictures received disastrous “structural surgery” from a restorer (Richard D. Buck) who had been hired and brought over from America in 1948 by the National Gallery’s Director, Sir Philip Hendy, to introduce supposedly advanced conservation methods. Januszczak, who defends the Nativity’s recent repainting make-over on the grounds that “an active artwork that is doing what it is supposed to be doing must always trump a charming ruin”, begs the crucial question – “What is an historic picture supposed to do?” – and he clearly fails to appreciate that it is not Time and Neglect but, rather, restorers who, through their ceaseless Un-doing and Re-doing of pictures, create ruins. Where no auction house or dealer would dream of boasting that a picture on offer has had multiple restorations, museum pictures are treated today like so many bags on an airport carousel waiting to be picked up and done over on the whims and fancies of the next available restorer.

(Incidentally, Jones, Bonsanti, and Lee have by no means exhausted the many due criticisms of the Nativity’s latest restoration makeover. The ruined stone wall behind the repainted Shepherds, for example, has itself been repainted in a manner that robbed it of thickness and perspectival placement and left it running flatly across the picture plane, like so much stone-patterned wallpaper, to serve as a backdrop foil to the hypothetically reconstructed heads, as seen at Fig. 9.)

PROCLAIMED RESTORATION TRANSFORMATIONS – AND THINGS THAT CRITICS OVERLOOK

Where Pope-Hennessy had likened the Sistine Ceiling to Beethoven’s Ninth and noted that “another, more lively, more decorative artist” was emerging, Januszczak whooped at the spectacle of the transformation:

“The thin and neat scaffolding bridge moved elegantly along the ceiling like a very slow windscreen wiper. In front of it lay the old Michelangelo, the great tragedian, all basso profundo and crescendo. Behind it the colourful new one, a lighter touch, a more inventive mind, a higher pitch, alto and diminuendo. It was being able to see both of them at once – Beethoven turning into Mozart before your eyes – that made this restoration such a memorable piece of theatre.”

Unlike Januszczak, Pope-Hennessy had not always welcomed restoration-induced changes. In his 1970 book, Raphael, he observed: “But Raphael restored is Raphael interpreted; it is different from the real thing” – and in 1987 he would likely have known that a recent “Raphael restored” at the Vatican had proved disastrously different from the real thing. In 1982, Mancinelli had said of a bungled, chemically experimental restoration that required extensive repainting by Colalucci in Raphael’s Loggia, “It is the best demonstration that a restoration can also not go along well.” In 2016, Colalucci recalled that the Vatican had faced “a serious problem” when “a new inorganic substance that had not been sufficiently tried and tested” was used.

In 1991, as the Sistine Chapel restorations neared completion, Pope Hennessy reverted to his younger self’s restoration-critical stance and noted:

“In London since 1945 the National Gallery had been the target of ceaseless criticism. There had been intermittent controversies in the press over the cleaning of paintings, but successive directors had enjoyed the support of a passive, compliant board. The policy of Radical Cleaning had been espoused by Philip Hendy (who must have suffered from some retinal defect which made him see pictures as flat areas of colour) and had continued under his successors for so long that proof of the damage done to the collection over thirty years could be seen in almost every room.”

That judgement on National Gallery cleanings was sound and it constituted an international commonplace. Mario Modestini wept for half an hour at the sight the Gallery’s “flayed” restorations; in 1970 Pietro Annigoni painted “MURDERERS” on the National Gallery’s doors in protest; in March 1999 when I visited the Gallery with Professor Anatoly Alyoshin, head of the Repin Institute, St. Petersburg (Russia’s leading institute for the training of picture restorers), he was shocked by the paintings’ uniform brightness and seeming newness. Stopping between galleries, he swept his arm around and said “See! Everything in every school looks as if it was painted in the same studio at the same time.” In a sense, everything had been – after stripping paintings of all they judge extraneous, National Gallery restorers are permitted to this day to paint onto them whatever they take to have been an artist’s original intentions, even with pictures as old and venerated as Holbein’s The Ambassadors and Piero’s Nativity. Old masters are being treated like neglected scores awaiting the life-restoring interpretation of a would-be pictorial Furtwängler, von Karajan or Barenboim – but with the difference that where musical scores outlive their successive interpreters, a painting is its own score.

PURISM AND FAKISM: FALSE AGE CRACKS AND RE-INTERPRETATIONS ON RESTORED PAINTINGS

In the 1990s the National Gallery’s then head of restoration, Martin Wyld, contended: “The ‘Good Restorer’ is the one who ‘does the minimum necessary but not too little… we remove everything not put on by the artist and then use our judgement to get back to the original.” On 8 April 2023, the Financial Times (“Behind the seams at the museum”) reported that the present head of restoration, Larry Keith, said of his restoration of Parmigianino’s Saint Jerome’s vision of John the Baptist revealing the Virgin and Jesus, “We are editing, in a way. The work is informed by science and objective criteria, but there are decisions you take, which on some level are interpretive”. In an Esso-sponsored, BBC-filmed restoration of the Ambassadors (which has ceased to be available), Wyld was seen to have repainted much of the carpet to a new design on the authority of a “carpet expert”, and to have repainted much of Holbein’s famous anamorphic skull to a new and elongated design derived from a computer-distorted photograph of another skull. The Gallery’s defence of Wyld’s first-ever insertion of a Virtual Reality image into an old master painting was its claim that “modern imaging techniques” offered more “scope for exploring possible reconstructions” than the perspectival and optical conventions by which the skull had been produced. The pronounced differences between the Ambassadors’s old original paint and Wyld’s newly redesigned and presumptuously repainted parts of the skull, were concealed by his painting fake lines of cracking onto his own newly painted hypothetical reconstructions to match the real cracks on the real old paint.

Above, Fig. 10: Top, a detail of Holbein’s The Ambassadors, showing a section of redesigned and repainted carpet, before treatment (left) and after treatment (right); centre, the pre-restoration anamorphic skull in Holbein’s Ambassadors; above, the Wyld-extended, computer-generated skull in the Ambassadors.

PRODUCING “DIFFERENT, MORE POWERFUL” IMAGES

The New York restorer and Kress-appointed Sistine Chapel invigilator, Dianne Dwyer Modestini (formerly Clinical Professor, Kress Program in Paintings Conservation at NYU’s Institute of Fine Arts) – very extensively repainted and artificially distressed the much-damaged Leonardo School Salvator Mundi that fetched a world record $450 million in 2017 at Christie’s, New York – prompting Thomas Campbell, a former director of the Metropolitan Museum of Art, to ask: “450 million dollars?! Hope the buyer understands conservation issues – #readthesmallprint”. Dwyer Modestini had published this small-print report of an early intervention in her decade long undoing and redoing of the picture:

“The initial cleaning was promising especially where the verdigris had preserved the original layers. Unfortunately, in the upper parts of the background, the paint had been scraped down to the ground and in some cases to the wood itself. Whether or not I would have begun had I known, is a moot point. Since the putty and overpaint were quite thick I had no choice but to remove them completely. I repainted the large missing areas in the upper part of the painting with ivory black and a little cadmium red light, followed by a glaze of rich warm brown, then more black and vermilion. Between stages I distressed and then retouched the new paint to make it look antique. The new colour freed the head, which had been trapped in the muddy background, so close in tone to the hair, and made a different, altogether more powerful image. At close range and under a strong light the new background is obvious, but at only a slight remove, it closely mimics the original [paint work] … Most of the retouching was done with dry pigments bound with PVA AYAB. Translucent watercolours, mainly ivory black and raw siena, were used for final glazes and to draw [false age-] cracks…” (Emphasis added.)

Above, Fig. 11: Top, a section of drapery on the $450million Leonardo school Salvator Mundi, as seen in 2011-12 at the National Gallery (left), and (right) as when sold in October 2017 at Christie’s, New York; centre row, showing left, and second left, the picture detail, as when acquired in 2005 and taken to Modestini for restoration; third left, the Modestini-restored picture detail when shown as an autograph Leonardo in 2011-12 at the National Gallery; and, right, the Modestini re-modified feature, as sold in 2017 as an autograph Leonardo, at Christie’s, New York; bottom row, left, the Wenceslaus Hollar engraving that was said by the National Gallery to have been copied from the National Gallery-exhibited Salvator Mundi picture (bottom right) when in the collection of Charles I. That claim was subsequently disproved when the lost Charles I Salvator Mundi emerged in Moscow and was seen to be of an entirely different composition – at which point, the previous resemblance of the painting’s complex shoulder drapery folds to those in the Hollar etching had become more of a disqualification than a potential corroboration.

CHRISTIE’S RESPONSE

In December 2017, Christie’s was presented with photographic evidence (Fig. 11, above, top) assembled by Dr Martin Pracher, a lecturer in technical art history, that showed the changed states of the Salvator Mundi’s (true left) shoulder drapery between 2012, when exhibited at the National Gallery as an autograph Leonardo prototype painting, and 2017, immediately before the $450million October 2017 sale at Christie’s, New York, in which the picture was offered as a then different but supposedly still-autograph Leonardo prototype that enjoyed “an unusually strong consensus” of scholarly support. Under Press questioning (see Dalya Alberge in the Daily Mail) a Christie’s spokeswoman said Modestini had “partially cleaned the passage of paint in the shoulder and the dark streaks disappeared… To imply something incorrect has taken place would itself be incorrect”. Thus, it was insisted that the recently “disappeared” multiple folds, were not folds but mere “dark streaks” that had appeared during Modestini’s 2005-2010 restorations only to disappear under her 2017 ministrations.

INSTITUTIONALLY SEALED LIPS

Of whatever it consisted, Modestini’s last-minute intervention had been made under sworn secrecy at NYU’s Institute of Fine Arts conservation studios, as she disclosed in her 2018 memoir, Masterpieces: Based on a manuscript by Mario Modestini. That is, when the Salvator Mundi returned to New York in July 2017 ahead of Christie’s November sale, Modestini, was instructed “not to inform anyone” when the painting was “delivered to the Conservation Center under guard and in great secrecy”. Modestini further disclosed that a deal brokered by Christie’s ahead of the sale whereby the vendor would receive at least $100million had also been “successfully kept under wraps.”

THE NATIONAL GALLERY’S ABIDING INFLUENCE ON RESTORATION “REVELATIONS”

When Pope-Hennessy deviated in 1987 from his earlier soundness on transformative restorations, he bought into the National Gallery’s longstanding picture cleaning rationale by endorsing two of the 20th century’s most spectacularly controversial restorations:

“In its cleaned form the [Sistine] ceiling has become again what Michelangelo’s contemporaries considered it, one of the supreme achievements of mankind. With Titian, the revelation started in the National Gallery in London, when the Bacchus and Ariadne was freed of centuries of dirt and proved to be painted in an altogether different tonality from any that had previously been supposed.”

That there had been no “centuries of dirt” to remove from the Titian will be shown in Part III. A fuller understanding of Pope-Hennessy’s late-life restorations lapse and an appreciation of the methodological and promotional similarities between the two most controversially transformative restorations in the second half of the twentieth century will be tracked through the records of the two successive National Gallery directors from 1934 to 1967, Sir Kenneth [later Lord] Clark, and Sir Philip Hendy. By the 1980s, that pair’s polished formulations had come to serve as an internationally infectious template for the unbridled techno-experimentalism seen in the Brancacci and Sistine chapels during what, for Colalucci, had constituted the terminus of “the golden age of restoration in Italy, the halcyon era from the late 1940s to the mid-1990s.”

In Part III, we correlate the false scholarship that flowed from the Titian Bacchus and Ariadne and Michelangelo Sistine Chapel restorations, along with the artfully engineered professional endorsements both restorations received from the then highest authorities.

Michael Daley, Director; 15 April 2023


The Perpetual Restoration of Leonardo’s Last Supper, Part 2: A traumatic production of “a different Leonardo”

14 March 2012

The unhappy $8m Olivetti-sponsored restoration of Leonardo’s Last Supper began in 1977 with a repair of small flakes of detaching paint. It morphed, on very grand institutional technical advice, into a promised liberation of all of Leonardo’s surviving original paintwork. It ended after twenty-two years amidst widespread recriminations and as a distinctly mongrel work showing alarmingly little original paint and very much alien “compensatory” and “reintegrating” new paint.

Prospective major restorations are often presented as elegant technical answers to some urgent conservation necessity the resolution of which promises magnificent artistic gains. In reality, the interface between technical intervention and artistic outcomes constitutes art restoration’s fault-line and does so in a field that is notoriously subject to the law of unanticipated consequences. One of the commonest surprises is how greatly the coherence of a work had depended on earlier restoration repairs that were removed on the grounds of being alien impurities. Like Humpty Dumpty, radically stripped works often prove to be wrecks that have to put back together again and many a restorer discovers – too late – that it is easier to take to pieces than to reassemble [see Endnote 1]. The resulting changes made during restorations are often presented as “discoveries”, “recoveries” or “recuperations” when on close examination they prove to have been plain errors. One such unwarranted, unsupported, insupportable case is shown here.

Towards the end, the restorer, Pinin Brambilla Barcilon, expressed the hope (Art News March 1995) that her restoration might be the last because: “The less you restore a work of art, the better its chances of survival. Each time you touch a work, it suffers a trauma, no matter how carefully you operate.” In November 1998 the Art Newspaper reported that when Mrs Brambilla was restoring a crucifixion on the wall opposite the Last Supper in 1978, she noticed that “fragments of painting were peeling off Leonardo’s work before her eyes.” The Guardian of July 21 1997 reported she had noticed “bits of painting falling from the Last Supper” and that after experts from Italy’s central institute for restoration in Rome (Istituto Centrale di Restauro) had been called in “the decision to restore the painting was swiftly taken”. Too swiftly, many Italian experts believed.

Although conservation necessities are sometimes exaggerated [see Endnote 2], with paint losses, determining the extent, cause, and remedy must always be the top priority – the equivalent of fixing a building’s leaking roof. As seen in Part 1, when the Last Supper was disintegrating to the touch after the Second World War, the then restorer, Mauro Pelliccioli, fixed the problem by embedding the paint in litres of shellac. He also won some critical praise for uncovering most of Leonardo’s own surviving paint from restorers’ over-paint. Crucially, however, he tackled the disintegrating paint first (during 1947-49). Only when the shellac was settled and the paint completely secure did he begin scraping off restorers’ repainting (during 1952-54). In this most recent restoration, despite the problem of paint detachment, work began with an intended systematic removal of the remaining repaints.

Effectively, in the last restoration the authorities undertook an all-or-nothing gamble with a masterpiece. Against the certainty that shedding the old would be disruptive of the familiar and the still-surviving, they bet that the recovery of some more fragmentary, talismanic relics of Leonardo’s paintwork would outweigh the scale of accompanying losses and newly exposed bare wall. This presumptuous naivety was to prove disastrously wrong-headed. First, as scientific tests of paint fragments (published in Studies in Conservation, August 1979) were to warn, the distinction between original paint and later restorers’ overpaint was not at all easy to establish: “the dividing line is much less clear cut”. (This was hardly surprising given the work’s earlier exposure to corrosive cleaning agents and heated metal rollers.) Second, Pelliccioli had already uncovered most (two thirds, he believed) of what was taken to be Leonardo’s surviving paint. While there was not all that much more to recover, there was, artistically, still very much to lose. Pelliccioli had left repaints in place precisely where they covered only bare wall – which is to say, where they held the image together.

The paradoxical consequence of this pursuit of original material was that the old ill-preserved yet somehow-maintained “theatrical” illusion that Leonardo had originally created was greatly undermined. One narrow specialised purist concern for what was “original” and “authentic” material was set against another larger more elusive aesthetic/artistic concern for what had been intended; for what was yet struggling to survive. Achieving the liberation of fragmentary and injured archaeological material imperfectly adhering to a damaged moisture-prone vertical surface came at the cost of eliminating all that had maintained and prolonged Leonardo’s decaying but originally mesmerising artistic illusion incorporated into the space and fabric of a large room. (Kenneth Clark had spoken fondly of “these ghostly stains upon the wall”.) The work was remorselessly stripped down to the sum total of all previously accumulated injuries in order that the resulting wreck might then be put back into some presentable aesthetic form more suited to today’s tastes. The ideological/art historical rationale offered for this purgative exercise was that every age has the right to make its own Leonardo…that the Leonardos that had come down to us from the past were somehow deficient, obsolete, culturally-contaminated; that we now simply know better. The preposterous nature and Futurist flavour of this relativist conceit (“Every previous generation has erred, we, standing outside of history – or at its end – will now get things right”) might have been held self-evident. Leo Steinberg, evidently unsettled by this recent spasm of historical/aesthetic cleansing, quoted Jonathan Swift: “Last week I saw a woman flayed, and you will hardly believe how much it altered her person for the worse.” (“Leonardo’s Incessant Last Supper”, 2001.)

The purist shedding of earlier repaints regardless of their antiquity and artistic functions, necessarily guaranteed that Leonardo’s work would be “altered considerably”, as Carlo Bertelli, the then director of the restoration, acknowledged in the catalogue to the 1983 Washington National Gallery of Art exhibition of Leonardo’s studies for the Last Supper. A later defender of the restoration, Giovanni Romano, not only applauded the creation of “a different Leonardo” during “a great restoration” (Il Giornale dell’arte, April 1999) but fawningly added that he would be “satisfied with a restoration of this sort every year.” Throughout this era of vaultingly high ambition, the restoration community needed the biggest possible “sell”: nothing less than a “New Michelangelo” was said to have emerged during the Sistine Chapel ceiling restoration. It became a commonplace that revolutionary restoration “discoveries” required the very “rewriting of art history”.

There is no mystery about how the latest calamity came about. In the 1983 catalogue, the Washington National Gallery curator, David Allan Brown, duly relayed the twin official reasons for the restoration: that the paint (which, under a microscope, resembled “the scaly skin of a reptile” ) had not remained secure; and, that Pelliccioli had not removed all earlier repaints. The repaints had to come off because they were now “threatening the stability of the original colour.” Not explained, was how this was so, or how much original paint had been left by Pelliccioli. In the July 2 1995 New York Times, Bertelli recalled having been “certain that there was enough beneath the additions to warrant this restoration”. He added that “Mrs Brambilla and I had examined the surface with a microscope, and we were surprised to see how much of Leonardo’s original work remained”.

In 1983 Allan Brown noted that “The expectation that a considerable portion of the original might survive [had given] a strong impetus to the decision in the late 1970s by the Superintendency of Fine Arts for Lombardy (at that time directed by Franco Russoli) in consultation with the Istituto Centrale di Restauro, to take up again the unfinished work of cleaning the picture.” This would suggest that so strong was the desire to revive and complete Pelliccioli’s unfinished aesthetic programme that the operation was begun even as the technical solution which had originally made that aesthetic objective possible was said to be failing. Whatever gains might have been hoped for or anticipated, by May 1998, Bertelli admitted (in Art News) that “Now we can see only a few square feet [of original Leonardo paint] but they are by the master” and, on a Channel 4 documentary that year (“The Lost Supper”), he characterised Leonardo’s mural as a “ruin” (“una rovina” ). In the November 1998 Art Newspaper Brambilla said, self-contradictorily, that the repaint had had to be removed out of fear that condensation might become trapped between “the artist’s original paint and the successive layers of paint”, and, that constant environmental conservation measures would henceforth be necessary because “the layers of repainting are no longer protecting the original paint.”

Which was the case? If the repaint was protecting the Leonardo paint, what had been causing the original detachments? Given that the 1979 tests mentioned above had established that it was not always possible – even under ideal laboratory conditions – to “decide exactly on the dividing line – both for areas and for layers – between what remains of the original and materials pertaining to later interventions”, how great could the risk have been of moisture insinuating itself between the original and the subsequent paint layers? On whatever technical premises it rested, when the restoration proper began on the better preserved right-hand side of the mural, the attempted removal of all previous restorers’ repaints and consolidations of paint, inevitably constituted a prolonged and sustained assault on the mural’s fabric – as Brambilla herself candidly described in the March 1995 Art News:

Here we have a surface that is completely ruined, disintegrated into tiny scales of colour that are falling off the wall. We have to clean each one of these scales six or seven times with a scalpel, working under a microscope…Here I can clean an area one day and still not be finished, because when the solvent dries it brings out more grime from beneath the surface. I often have to clean the same place a second time, or even a third or a fourth. The top section of the painting is impregnated with glue. The middle is filled with wax. There are six different kinds of plaster and several varnishes lacquers and gums. What worked on the top section doesn’t work in the middle. And what worked in the middle won’t work on the bottom. It’s enough to make a person want to shoot herself.”

Could Pelliccioli’s already failing shellac have survived these repeated traumatic assaults with solvents and scalpels on all the glues, waxes, lacquers and gums within the paint-film? Had some new superior quick-acting consolidant been identified or manufactured? What were the structural consequences of this apparent removal of every atom of previous consolidations of the paint? Brambilla has said of the detaching paint “To re-adhere the fragments we used wax-free shellac in alcohol, the same adhesive as Pelliccioli applied during his intervention of 1947″. So, in other words, just some more of the same. If Brambilla’s best English wax-free shellac lasts no longer than Pelliccioli’s, we might expect another restoration within twenty years or so.

One thing is clear: the technical underpinning of the restoration, and the swiftness with which its unquestionably radically transforming methodology was applied, were both challenged by Italian experts. On July 2 1995 the New York Times reported that Mirella Simonetti, a Bologna-based restorer, protested: “There was never any doubt in their minds. They decided how to proceed without even conducting the proper analyses to determine how much of the original painting remained. They didn’t even submit their findings to an international committee of experts.” The Florence-based diagnostician, Maurizio Seracini, who had been called to examine the Last Supper after the restoration began, complained: “I think that Mrs Brambilla has worked in good faith. But you don’t decide to restore a masterpiece like the ‘Last Supper’ on the basis of what you see under a microscope. It’s simply irresponsible.” Seracini added “I myself have not seen any definitive scientific proof that restoration was really needed.”

That the authorities had not known how much original Leonardo paint might survive had been tacitly acknowledged as early as 1983, when, with the restoration one third completed, David Allan Brown could speak only in relative terms: “By comparison with other, well-preserved murals of the time, Leonardo’s detailed execution is almost entirely lost.” Even when the restoration was eventually finished (or halted) there was no agreement among the protagonists themselves on how much had survived. Carlo Bertelli, the director of the Brera Art Gallery in Milan, who effectively initiated the restoration, put the figure at 20%. Pietro Marani, the prolific Leonardo scholar who advised Brambilla from 1985 and became co-director of the restoration in 1993, once said that “no more than 50%” survived and later more ambiguously claimed that 90% had survived “in parts”. Giuseppe Basile (later the director of the restoration of Giotto’s Arena Chapel frescoes) put it at “about half”. Giorgio Bonsanti, the director of the Florence-based laboratory Opificio delle Pietre Dure, put it at “possibly 20%”. Giovanni Urbani, the director of the Istituto Centrale di Restauro between 1973-83, and the director of the Brancacci Chapel restoration, thought 25% had survived.

In 1989 a Milan town councillor, Maria Bonatti, brought an (unsuccessful) action against the restorer for accelerating the mural’s decay – a charge also made by the painter, essayist and paint materials expert Mario Donizetti, who held that it would “disintegrate more rapidly than before.” Ten years before the restoration ended, in November 1989 the Art Newspaper reported “Over the years work has been stopped repeatedly, sometimes following changes at the helm of the Milanese Soprintendenza and the Instituto in Rome, other times simply to allow the whole project to be reconsidered.” Eventually the proceedings quickened dramatically. In his 2001 book, Leo Steinberg recalled encountering the restorer and three young assistants in 1998 “all huddling at lower left scraping away”. On the cleared wall, “more filling was needed – and it had to be done fast (a deadline had been imposed from on high), so that this must-see tourist attraction would show decent finish to the daily sightseers.”

In 1983 Bertelli had said in National Geographic that Brambilla was taking a week to clean an area the size of a postage stamp. He quoted her professional plaint: “It’s difficult. The work is hard and tiring. It creates much physical tension bending over the microscope. After a few hours my eyes grow blurry. I may come every day for months. Then I must take an extended break. There is also the psychological tension. All the eyes of the world that know Leonardo are watching what I do. Some nights I do not sleep.” The pressure intensified as the restorer inched her way towards the central figure of Christ. In April 1998 the Art Newspaper reported that “Hundreds of tourists (mostly Japanese) last month lined up…to visit Leonardo’s Last Supper. The painting was back on view after having been closed for two months to allow restorers to work on the faces of Christ and the apostles.” That report evidently escaped the attention of the National Gallery’s then director, Neil MacGregor, who wrote in his 2000 BBC book “Seeing Salvation”:

When the latest restoration was unveiled in 1999, all hell broke loose, and the admirably scrupulous restorer in charge was vilified in much of the world’s press…Among the wilder accusations, fears were expressed that the face of Christ had been altered. Happily these proved to be groundless.”

That the unveiling was badly received is beyond dispute, but if vilification was in evidence it was aimed by defenders of the restoration at their critics (see right). The extent to which the face of Christ was altered, and the evolving means by which the restorer came to impose her own distinctive, ahistorical, arguably arbitrary aesthetic reading on the unprecedentedly vast, fully-exposed areas of paint loss in a quest to “bring it back to its original colors and composition”, will be examined in Part 3. Here (right) we examine a single unwarranted change that was made to the design of drapery on Christ’s right arm and then presented as a restoration recovery.

Michael Daley

ENDNOTES [1] In the 1962-64 National Gallery Annual Report, the then director, Sir Philip Hendy, described how with the great Uccello panel from the Battle of San Romano series, the stripping down (which had begun and 1959 and was still ongoing) had exposed a greatly damaged surface. As a result, after its characteristic Gallery “complete cleaning“, it was realised that “To restore scrupulously takes very much longer than to create freely, and the task of pulling the picture together again could have been further prolonged.” [2] With the restoration of Michelangelo’s Sistine Chapel ceiling it was said in 1986 (six years into the restoration) that “various checks [had] ascertained that in several places minute flecks of colour were lifting” and that this had “necessitated an immediate restoration.” In 1987 it was said that extensive areas of flaking were progressively worsening and threatening an imminently “uncontrollable situation”. By 1988 Vatican spokesmen were claiming that the weight of encrustations upon the paint surface was causing it to break away from its ground. By 1989 it was said that the glues had “shrunk and puckered” causing “scabs” to fall away “pulling pigment with them”. It was said that this “slow destruction by glue-pox” was “the Vatican’s principle motivation for cleaning the ceiling“. When I asked in 1990 how big the puckerings were, a Vatican spokeswoman said “Oh! Some are as big as your hand.” Soon after, in 1991, the problem de-escalated: initial investigations were acknowledged, once more, to have encountered “minute desquamations and loss of pigment.”

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Above, Fig. 1: The opening section of TIME magazine’s June 7th 1999 coverage of the unveiled Last Supper. Such reports generated public denunciations of the critics. One, by Georgio Bonsanti in the May 1999 Art Newspaper, targeted this organisation:
At the root of the controversy are the declamations of the international brigade, Art Watch International, now nearly ten years old, led by the American art historian James Beck and the English journalist [sic] Michael Daley. These crusaders are convinced that masterpieces are being desecrated by poor restoration all over the world but especially in Italy…”
Bonsanti further claimed that Italy’s restorations were being attacked by outsiders because that country “tolerates dissent”, evidently forgetting that James Beck (a professor of art history at Columbia University, who lived in Italy for part of each year, whose wife was Italian and whose children are half Italian) had been hounded simultaneously in several Italian cities on charges of criminal slander (which carried, in addition to horrendous potential financial penalties, the risk of a three-years jail sentence) for criticising the restoration of a masterly piece of sculpture by the subject of his life-long studies, Jacopo della Quercia. (For Michael Daley’s reply, see “Was it necessary?”, the Art Newspaper, July/August 1999.)
In a more specifically abusive vein Bonsanti alleged that:
All standards of accuracy and correctness were laid aside in the scramble to report the supposedly disastrous restoration of the Last Supper…I am not suggesting that critics should be silenced or that a moratorium is desirable, but criticism should be based on observable fact, it should be a technically competent, well-researched and accurate reaction.”
As it happens, all of our criticisms are based on observable, demonstrable (and photographically reproducible) facts. How else, in visual art, might criticisms proceed? As a case in point we discuss and illustrate below a change that was made to the Last Supper and then presented as one of a number of “noteworthy recoveries” when, manifestly, it was not a recovery but an adulteration. To judge restorations it is necessary to know what was done and what was said to have been done by those in authority. For many of those of us who had the privilege of seeing from the scaffold what was being done to Leonardo’s work, the experience was alarming. The removal of everything except that which was deemed original Leonardo paint meant that greatly more “not-Leonardo” was emerging than Leonardo. The second consequence of the stripping was that what little original paint survived, was lost in the visual clamour of the surrounding cracked and discoloured wall preparation layers. It would have been inconceivable to leave the tiny emerging islands and archipelagos of original paint adrift in the vast sea of ruined wall. At close quarters it was evident that this was not only an extreme restoration, it was also methodologically self-defeating in its dogmatic pursuit of “pure” material. As fast as earlier restorers’ paint was eliminated, fresh paint was needed to ameliorate the losses and impart a pale impression of continuity, coherence and legibility (“The goal of pictorial integration was to achieve a sufficient legibility of gesture, pose and modeling” – Brambilla). The purging of paint and the attendant debilitation of imagery gave rise – as is soften the case with radically deconstructing cleanings – to a misconceived, ahistorical reconstruction that altered the design of the picture – in this case, even, that of Christ himself. While doing so in the name of historical authenticty, historical testimony was defied to a degree that beggars belief.
The change in question was made to the sleeve of the tunic on Christ’s right arm. It is shown here at Figs. 5-9, as it appears in the “official” published accounts. As seen in Figs. 6 and 8, the alteration was made with fresh paint to stripped areas. On the “evidence” of some fragments of red paint located in a clearly distressed section of the mural, the sleeve drapery was extended by fresh repainting so as to come to rest on the top of the table which it had originally tucked behind – as countless drawn, engraved and painted copies of the Last Supper testify. By a fluke of publishing, we can show directly comparative photographs that capture the genesis of this alteration. They are found in two books. The first is Pietro Marani’s sumptuous, large format 1999 “Leonardo da Vinci ~ The Complete Paintings” (hereafter: Marani 1999). In it there is a photograph of Christ (shown here in Figs. 6 & 8). It was taken when the figure had been stripped down and largely but not entirely retouched. The second source is the beautifully photographed and produced 1999 book-of-the-restoration “Leonardo ~ The Last Supper”, by Pinin Brambilla Barcilon and Pietro C. Marani with Antonio Quattrone’s photographs (hereafter: Brambilla/Marani 1999). In this book there is another photograph of the Christ but this time it is after all the retouching had been completed. This plate is seen at Figs. 7 & 9. The differences between the two states are worth a thousand words. But before discussing their testimony in detail, the status of the many copies of the Last Supper should be considered. We take as fair testimony of Leonardo’s original treatment of the drapery, copies of the Last Supper made in the first eleven decades of its life. Fig. 2 is a detail of an engraving thought to have been made within a couple of years of the Last Supper’s completion. Although primitive in style, it clearly shows that the sleeve drapery is cut off by the table top and does not not rest upon it. Over a century later, Rubens (or an associate) made a copy in ink and wash. Here too the sleeve drapery is cut off by the table.
Above, top left, Fig. 2: Detail of the engraving given to Giavanni Pietro da Birago and thought to be the earliest copy (c. 1500) of the Last Supper which was completed in 1498. This work comprises a visual record of the Last Supper’s appearance before the mural’s notoriously rapid physical decomposition was in train. Enlarged, the clarity of delineation attests to a feature that may not be so evident elsewhere: the (blue) mantle does not yet simply disappear in the zone of shadow behind the table and between the arm and torso (as is already recorded at Fig. 4), but is seen to turn briskly around the waist of Christ. Above, top right, Fig. 3: Detail of an ink and wash copy given to Rubens or an associate, and of c. 1600-08. It is possible that the Rubens copy may have been made not from Leonardo’s Last Supper in Milan but from the large full-size copy of it seen at Fig. 10. But that copy, too, attests to the drapery being cut off by the table. This table/drapery relationship had thus remained unchanged for more than a century. Above, Fig. 4: Detail of the 1616 oil on canvas copy by Il Vespino (Andrea Bianchi). This copy had been specifically commissioned in 1612 to record the then condition of the already alarmingly decaying mural.
Above, Fig. 5: Leonardo’s Christ, as seen before the 1977-1999 restoration. It is clear when comparing this state with the copies of the painting shown at Figs. 2, 3, 4, 10 & 11, that in the course of earlier restorations, the drapery of Christ’s right arm had been slimmed down on its inside edge by encroachments of the shaded zone between the table top and the figure.
The key role served by certain copies in the last restoration might be mentioned. Pietro Marani (in Brambilla/Marani 1999) discusses the assorted values of the many and various copies as testimony. He gives a list of fifty principal and “more faithful copies”. Pre-eminent among these are the two full-size oil on canvas copies of the Last Supper. One is by Giampietrino, a student of Leonardo’s (see Fig. 11). It is given to c. 1520. The second is given by Marani (on not very clear grounds) to an anonymous Flemish artist, but it was formerly attributed to another Leonardo follower, Andrea Solario. For convenience we refer to it as the Tongerlo copy, after the Abbey in Belgium which has owned it since 1545. A third large copy is the oil on canvas by Il Vespino, shown above at Fig. 4. At the time of last restoration of the Last Supper the Il Vespino had recently been restored and put on display in Milan at the Ambrosiana. The two full-size canvases played critical roles in the last restoration. The Tongerlo copy had been damaged in 1929 and was restored in 1932, 1952 and again in the 1990s prior to being housed in what is known as the Da Vinci Museum. The Giampietrino (owned by the Royal Academy) was borrowed as an aid to the last restoration and cleaned to that end by Pinin Brambilla Barcilon. Marani says of the copies generally that their value “cannot be overestimated”. From the full-size Giampietrino and Tongerlo copies, Brambilla had taken tracings – and these, Marani reports (Brambilla/Marani 1999), demonstrated:
…how the painters faithfully traced the most important elements of Leonardo’s work – the heads, hands and other principle outlines of the various figures – but then assembled the pieces into into complete images that did not always take into account the original intervals between the figures and the painted spaces in the mural.”
That the two full-size copies shared essential design properties both with one another as well as with Leonardo’s mural is of the utmost importance. Such a triangulated matching of imagery shows that the Tongerlo and Giampietrino copies were taken directly from the mural itself after completion, and were not taken from cartoons that might have been made in preparation for the painting during the course of which revisions were made. This in turn means that the restorers between 1977 and 1999 had in their possession unquestionably reliable guides to the designs and the component parts of Leonardo’s figures as they had been finished by him on the mural itself – if all three matched, none could be inaccurate. There could be no grounds for departing from the commonly held “principle outlines of the various figures”.
Above, Fig. 6: Christ, as seen (in Marani 1999) before the completion of the 1977-1999 restoration. This illustration captured a curious stage of restoration. We see that after the stripping of earlier restoration repaints, the extensive losses to the blue drapery of the mantle and the red drapery of the tunic had been ameliorated by overall applications, respectively, of lighter blue/grey and lighter red paints. Of critical importance is the fact that at this stage a crescent shaped, as-yet untinted zone, sits unresolved between the red and the blue passages, as if there is confusion about where to place the boundary between the coloured zones of the two draperies. A reason for hesitation is not hard to divine: this untreated area not only sits between the red and the blue draperies, it also also runs down across the table cloth.
Above, Fig. 7: Christ, after the completion of the 1977-1999 restoration (as in Brambilla/Marani 1999). It can now be seen that the junction of draperies at the inside of the red sleeve and the blue mantle in Fig. 3 was moved rightwards by an extension of the pale red paint. But at the same time, this light red retouching has also been carried downwards, overlapping the table cloth before turning upwards so as to terminate behind the wrist, and thereby impart to the sleeve drapery a muff-like (or puffball-like) configuration from the centre of which the forearm now emerges. As well as being an unwarranted falsification of Leonardo’s design, this change insinuates a solecism: in the laws of artistic drapery, material hangs from and partially expresses underlying human forms, it does not provide autonomous enclosing receptacles for them (like pots for a lobster, as it were). As shown below, no authority exists in the painting’s many copies for this change of design.
Above, Fig. 8: An enlarged detail, again showing the sleeve/mantle relationship after some tinted infilling had taken place but before the completion of the restoration. The dark shape in the bottom left corner is the mantle of the apostle John. It would seem that this photograph was taken at the point when the restoration was just about to pass to the left of Christ. It would seem also to confirm that the tinted infills were being made pretty much as the stripping down was taking place. Here we can see that the razor-sharp delineation of the architectural forms is not a happy by-product of the stripping down but is almost entirely a subsequent reconstruction effected with superimposed overall painting on a zone of almost total losses of original paint. It looks as if the tinted brown repaint on the background wall was stopped short of the not-yet stripped drapery of John, thus producing the temporary effect of a coarse outline or halo.
Below, Fig. 9: The section at Fig. 8 after completion of the restoration. Note how the repainted tones on the architecture have been brought to a sharp and precise relationship with the contour of the arm drapery. Is that seeming precision of draughtsmanship authentic or spurious? How well does it compare with the sleeve/wall boundary on the two full-size copies shown below? Of this back wall, Pinin Brambilla Barcilon writes:
The entire wall, however, was characterised by the widespread loss of colour…Once the superficial repaint had been removed, it was clear that we had to press on with cleaning in order to achieve some sort of visual coherence between the back wall and the side walls…Pictorial integration meant that the wall had to be restored using coats of dark toned water colour to define the shadows. Obviously the flakes of original colour remain completely visible…”
Of the sleeve drapery the restorer writes:
Like the mantle, Christ’s robe also required the removal of extensive repaint, as the heavy red tone detracted noticeably from the lovely original vermilion passages. The thick adhesives made the removal particularly difficult, so it progressed with the repeated application of compresses which managed to dissolve the film of glue completely. The cleaning redefined the original articulation of the folds, both at the neckline and at the sleeve cuff. The cuff which had been covered by the mantle’s repaint now revealed beautiful violet flakes, composed of a blue base glazed with a crimson lake to define the shadow area…”
The very concept of “redefining” the original is unsettling if not oxymoronic. Note that while there is excitement at the discovery of “beautiful violet flakes” (as seen through a microscope?) in the stripped down wreckage, there is no mention of the table cloth or discussion of the changed drapery/table relationship. The restorer continues:
Other noteworthy recoveries included…”
Above, Fig. 10: Detail of the Tongerlo Abbey copy of which Steinberg writes:
“…given its size, its high quality, and general accuracy, the Tongerlo copy ranks with the finest surviving testimonies to the near-lost Leonardo.”
Above, Fig. 11: Detail of the large, c. 1520 copy of Leonardo’s Last Supper that is owned by the Royal Academy and attributed to Giampietrino. In the catalogue to the National Gallery’s recent “Leonardo da Vinci – Painter to the Court of Milan” exhibition, Minna Moore Ede wrote:
Given the deteriorated state of Leonardo’s Last Supper mural today, the question of which of the early painted copies can be said to be most faithful to the original is of particular and tantalising importance. Always viewed as among the most accurate is this scale copy by Giampietrino…Believed to have been a live-in apprentice of Leonardo’s during his first Milanese period (probably joining the workshop in the mid 1490s), Giampietrino would have been present during the period when Leonardo was preparing and painting the Last Supper, perhaps even assisting his master.”
When told of our objection to the redrawn sleeve of Christ, Pietro Marani reportedly responded: “A small piece of drapery. Oh, my God.” and contended that Giampietrino might have misunderstood the position of Leonardo’s drapery.
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